31 oct 2011

RECENSIÓN.LE BONIMENTEUR DE VUES ANIMÉES. Le cinéma “muet” entre tradition et modernité Germain LACASSE. Texto completo. "The cineclub's review" number 1

LE BONIMENTEUR DE VUES ANIMÉES. Le cinéma “muet” entre tradition et modernité
Editions Nota Bene (Québec). Méridiens Klincksieck (Paris) 2000

Por Julio Lamaña

Consensus et différends. Así titula Lacasse su introducción a un libro que insiste por activa y por pasiva que el cine “mudo” nunca fue mudo y que la oralidad estuvo siempre presente. Esa voz, que no está en el soporte fílmico, ha quedado también fuera del alcance de los historiadores, que han estado más concentrados en el texto fílmico que en las voces del metatexto cinematográfico1. Y consecuentemente esa es la voz que el autor analiza a fondo con extensos y variados ejemplos y que tiene la denominación de bonimenteur francés, benshi japonés, lecturer inglés, kinoerzähler aleman, filmuitlegger holandés, prelegent polonés, explicador español, lecturer norteamericano, turjumán iraní, pyongsa coreano, cartouche del Zaire o agitateur ruso. Todos unos nombres para definir la figura de la oralidad en el cine “mudo” como objetivo del estudio de este libro. Explicador, comentarista, conferenciante, narrador, figuras orales que como demuestra el autor, provienen de mucho más atrás en el arte de la representación con imágenes, poniendo como ejemplo la presencia de la oralidad en los espectáculos de linterna mágica.



Number 1- December 2010
  • Presentation/ Felipe Macedo (Brasil-Canadá)
  • Editorial
  • In favour of new words/ A favor de nuevas palabras/ Gabriel Rodríguez (México)
  • Dossier FICC Tabor 1987 (Filmoteca UNAM-México)
  • The birth of the FICC-IFFS/ Julio Lamaña (Catalunya-España)
  • Las reuniones de cineclubes en América Latina en los años 80/ Mario Piedra (Cuba)
  • Kelab Seni Filem Malaysia/ Wong Tuck Cheong (Malaysia)
  • Ciné-clubs au Mozambique/ Guido Convents (Bélgica)
  • La Fédération Tunisienne des Ciné-Clubs/ Mounira Yaacoub (Túnez)
  • Cinéma du Peuple, le premier ciné-club/ Felipe Macedo (Brasil-Canadá)
  • La parole comme arme du public/Germain Lacasse (Canadá)
  • La sala vacía/ Nicolás Román Borré (Colombia)
  • Books reviews:
  • Le Bonimenteur des vues animées- Germain Lacasse (Canadá)
  • Quando il cinema era un circolo- Virgilio Tosi (Italia)
  • La Cinéphilie- Antoine de Baecque (Francia)
  • Lo que Fabio Fasala nos ha dejado/ Paolo Minuto (Italia)
  • Fabio y el mundo, el trabajo por el asociacionismo internacional/ Valeria Patanè (Italia)
  • Una carta internacional para los derechos del público/ Fabio Masala (Italia)
  • The audience rights: the present effectivness of the Charte of Tabor/Marco Asunis (Italia)
  • Cineclubes, articuladores de culturas, derechos y públicos/ Yenny Chaverra (Colombia)
  • Sobre los Derechos del Público/ Gabriel Rodríguez (México)

30 oct 2011

THE BIRTH OF THE INTERNATIONAL FEDERATION OF FILM SOCIETIES. Abstract. Complete text in "The cineclub's review" number 1

by Julio Lamaña
63 years after the birth of the FICC (Fédération Internationale des Ciné-Clubs), it seems opportune to pause in order to reflect on a key moment in the international film club movement. The political and social context of the recovery of freedom after a period of war instigated the resurgence of film societies all over the world. In this exceptional historic period, and with the need to not repeat anew another military conflict, sparked a cry from different spheres for the creation of international super-entities that would allow a progressive future and wellbeing for all the inhabitants of the planet. In 1945, the Charter of the United Nations was signed by 50 countries in San Francisco. In November of 1946, the First UNESCO World Conference was held in Paris to “establish intellectual and moral solidarity of mankind, and in doing so, prevent the outbreak of another world war”. Winston Churchill gave a speech in 1946 in Zurich proclaiming the need to unite the states of Europe so as to prevent new military conflicts. We must understand the origins of the FICC as being part of this historic process of creating international institutions. Cinema and the form in which it was approached by an organized public was also a way to avoid wars1.


Send a mail to:
15euros + Shipping


Dear friends,
 As you all know, last december, during the IFFS general assembly, we have released the first number of The Cineclubs’ Review: it has been delivered to all federations and delegations present at that meeting.
The Review wants to be part of a strong tradition in cineclubism, coming from the Journal du Ciné-club till today, including so many publications that helped make the history of cinema in so many countries. This tradition is that of a strong and meaningful press which expresses the viewpoints of the public and help us to be part of cinema and culture. The Cineclubs’ Review intend to create a place for cineclubs in these times of structural changes in the audiovisual, times that bring new realities, conditions and challenges to our movement and for the public that we aim to represent. 
To sustain an international publication of cineclubs, however, two things are essential: the involvement of you all in it’s contents, by means of critics and articles, and the material, financial support, to make possible an initiative that, such as cineclubism itself, does not always attract a general enthusiasm from sponsors or advertisers. 
For these reasons we are adressing the IFFS and its members, as well as other organizations that could be interested, to ask and try to organize the indispensable support for the success of The Cineclubs’Review. We are asking all of you to answer to this message, sending your comments to, and informing on your possibilities of promoting the following actions: 
1. Send to the review’s staff your general evaluation of this first number and any suggestions you may have, mainly about the goals and contents (as put in the Presentation and Editorial, as well as in the articles), but also about format, languages used, periodicity and other aspects; 
2. Inform us about your disposition and possibility, as well as places and dates, to promote the release, distribution, and sale of The Cineclubs’ Review in your country; 
3. Inform us about the possibility of each federation or other member organization to buy an agreed number of copies for distribution, thus allowing us to guarantee a minimum revenue to support the publication and a basis for planning the number of copies to be printed. You can also subscribe directy by internet at:
We are convinced that you, cineclubists everywhere, understand the importance of this kind of publication, a vehicle for promoting and discussing cineclubism, and also understand the need of your solidarity and participation to turn this Review into a real and independent channel for our interests and demands.  An independent channel for the public and the cinema he wants and deserves.
Sincerely yours,

The Staff, 
The Cineclubs’ Review/Cahiers des Cinéclubs/Cuadernos de los Cineclubs

LA CINÉPHILIE-INVENTION D'UN REGARD, HISTOIRE D'UNE CULTURE (1944-1968). Abstract. Article complet. "The cineclub's review" number 1

Compte rendu
La cinéphilie – Invention d’un regard, histoire d’une culture – 1944 – 1968
Antoine de Baecque
Paris : Fayard, 2003, 405 pages.

Par Felipe Macedo
La cinéphilie est à la mode. Au moins dans certains milieux académiques, surtout états-uniens. Et c’est beaucoup la faute de Antoine de Baecque, prolifique éditeur, journaliste, historien, professeur et critique de cinéma et cinéphile tardif, d’après lui-même. De Baecque produisit une trentaine de livres, en partant de ses études universitaires sur la Révolution Française et puis se spécialisant dans le thèmes du cinéma, des cinéastes et de la cinéphilie. Il fut éditeur des Cahiers du Cinéma (1996/98) et éditeur de culture du Libération (2001/06), parmi d’autres publications. Il organisa une anthologie, en neuf volumes, des Cahiers et publia des études importants sur François Truffaut, Manoel de Oliveira, Tim Burton, pour ne mentionner que ceux-là.